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East India Youth

When William Doyle first performed live as East India Youth in November 2012 to a dozen people in a tiny Dalston basement venue, it was remarkable that he made it through the entire 25 minute gig without incident. He was using a knackered Macbook with a malfunctioning USB port, an antiquated mixer and a Casio MT45 keyboard bought off eBay for 15; and all of it was skidding around a plastic trestle table which constantly threatened to collapse, as it was buckling at the knees like Bambi on ice. During his second gig (in another basement in Hackney but this time to 40 people) he came up with a smart way of keeping everything exactly where he wanted it: by securing it all with cartons of apple juice borrowed from the bar and gaffa taped in place.

Over the next two years his achievements seemed as effortlessly gained as they were well-deserved. He released the ‘Hostel’ EP via the Quietus Phonographic Corporation in March 2013 and then his critically acclaimed debut album ‘TOTAL STRIFE FOREVER’ on Stolen Recordings in January 2014, which would go on to be nominated for the Mercury Prize. He went on tour with Factory Floor, supported These New Puritans and by the Summer of 2014 became a big festival draw in his own right. And while he might have upgraded his equipment and invested in a sturdy new table that allowed him to leave six cartons of apple juice and a roll of gaffa tape off his rider, essentially his live set-up was still the same – one electronic musician behind a table full of gadgets, occasionally clutching a bass guitarSpeaking now, the

24 year old explains: “It was performing live that made me realise that I wanted to be more of a front person. It was quite a big gesture, because I’d been stood behind the table for two years – striking quite an electronic musician stance. This new persona requires me to be a bit more flamboyant and a bit more energetic. I was definitely letting people know that night that this was the first bit of the next step for East India Youth and this was how it was going to be from then on. ‘Big “pop stars” get to sing over backing tracks’ I thought, ‘so why can’t I do it as well?!'”

Initially supposed to be a difficult, underground album when it was first conceived in 2012, ‘CULTURE OF VOLUME’ rapidly mutated into a very different beast indeed but it wasn’t a path that Doyle was initially happy with: “I didn’t feel comfortable for a long time with the idea of making a pop album. But I ended up realising that was where I wanted this album to go and that’s how I see myself now. And if I don’t do it now, I’ll never do it ever again. All my pop star ambitions exist right now in this space.”

Pixx is the nom de guerre of 19 year-old Hannah Rodgers, a young songwriter from Chipstead, just beyond the fringes of south London where suburban sprawl starts to break in to countryside.

Born to a music-loving family, her creative side was nurtured and encouraged from a young age and her burgeoning talent didn’t go unnoticed, earning her a place at The BRIT School, the renowned performing arts college located not far from her home.

Inspired by the likes of Bob Dylan, Joni Mitchell and Aphex Twin and adopting her grandmother’s nickname, Hannah is striking it out alone as Pixx.

Her recording debut, Fall In, will be released by 4AD on 28th August.